Kids
Kid’s content: The Big Multi Screen Picture
CANNES: The multi-screen (mobile, TV, internet, PDAs etc) environment has not only created an abundance of ways in which entertainment can be consumed, but has also thrown open new vistas for content creators to explore.
While none of the emerging platforms have the combination of power, effectiveness and reach that television as a medium has, the increased delivery options are slowly but surely loosening the stranglehold that broadcasters traditionally have held over content creators and the creation process.
Session 1 on Day 1 of Mipcom Junior 2005 zoomed in on this emerging trend but with a focus on taking kids content beyond the tube. Panelists included: AOL Kids and Teens (US) Senior VP and GM Malcolm Bird, Virgin Atlantic Airways (UK) TV Acquisitions executive Emma Gesto, On Demand Media Group (USA) President Neil Goldberg, Lions Gate (US) Family Entertainment Executive VP Ken Katsumoto, and H3G (Italy) Marketing Manager Tiziano Tonti. The moderator: Kidscreen (Canada) Managing Editor Lana Castleman.
AOL’s Bird spoke about how KOL (Kids Online – AOL’s kids specific offering) was setting precedents in creating an online distribution model. He highlighted that the company had – and is – investing in creating original content specifically for KOL. “We have four animated shows, Princess Natasha, Skuuad, Kung Fu Academy, and Pila’s Adventures,” he pointed out.
In 2003 KOL launched Princess Natasha, a series of five minute flash animated cartoon (streaming). Within two years, the 3.5 million unique monthly visitors of KOL, had clocked close to four million sessions for Princess Natasha.
Created for the Internet, the popular cartoon has been licensed to several kids product manufacturers in the US and has now been licensed for broadcast to Cartoon Network (Europe). AOL also plans to release Princess Natasha for the home video segment.
Bird pointed out that Princess Natasha is a great example of successful content within the audiovisual realm, created specifically for the Internet, and now moving to other platforms including TV.
“Online can be used as an incubator for development of new properties by broadcasters” commented Bird.
Virgin Atlantic’s Emma Gesto spoke about the Airline’s original content strategy for in flight entertainment.
“We are probably the only airline to buy our programming directly from content creators rather than buying it from service providers. We have amongst our offering a dedicated pre school channel and we change our kids programming every six months. We even have a separate offering for babies”
Gesto pointed out that she had more freedom to experiment with titles, saying, “We just don’t look out for brands, we buy even lesser known titles as long as the programming fits in with our requirement.”
Content creators have great promotional opportunity with in flight entertainment as they can offer content related merchandise in flight, said Gesto.
Lion’s Gate Entertainment’s Katsumoto said that his distribution company comes in “when the creator has an IP and has automated processes with US broadcasters. We play the role of co-producers and marketers”
“The type of IP we look for has to be well known and has to be airing on major US broadcasters in US. Home Entertainment in US is controlled by the big retailers like Walmart (50 per cent), Target (29 per cent) and Best Buy (9 per cent) and taking into account that 80 per cent of the business comes from 20 per cent of the products, brands are important to us,” he said.
On Demand Group President Neil Goldberg commented on the growing demand for on demand.
“We are licensing specialists,” he said, adding, “We license content from across the board and build a large catalogue and deal with companies which have strong footholds in their regions.”
Is On demand restricted to TV? “Certainly not” was Goldberg’s reply. You already have on demand on the mobile and looking into the future we see lot of options like Download to the PC, Kiosks where content can be demanded and downloaded to memory sticks or other devices being used by consumers to access content when and how they like.”
H3G (Italy)’s Tonti confessed that his company did not yet have a focus on kid’s content but was being compelled to strategise on an offering for kids driven by recent statistics and research. Some of the startling statistics that Tonti shared were
Italy has the highest mobile penetration in the world (109 per cent)
56 per cent of kids aged between seven and eleven have a mobile phone
60 per cent of those kids use their mobile three hours a day
Amongst kids 40 per cent consumption is games and 30 per cent ringtones.
As the delivery horizons expand for kid’s content, the winds that are helping content sail beyond the tube are that of ‘the need for differentiation and exclusivity’ hence original programming, ‘the need for comprehensive Value Addition’ hence localised and regional programming, ‘the need to cater to shorter and divided attention spans’ hence sachet programming.
Kids
Om Nom bites into India as Warner Bros. Discovery picks up the series
MUMBAI: The little green hero is making a big leap east. Zeptolab has struck a major distribution deal with Warner Bros. Discovery, bringing its hit animated series Om Nom Stories to audiences across the Indian subcontinent.
Under the agreement, Warner Bros. Discovery has acquired the series for exclusive Pay TV broadcast and non-exclusive digital streaming in India, Pakistan, Bangladesh, Bhutan, Nepal and Sri Lanka. The move marks a significant expansion for Zeptolab as it pushes one of its most successful original IPs into one of the world’s fastest-growing entertainment markets.
As part of the deal, all 26 seasons of Om Nom Stories will be rolled out across Cartoon Network, Pogo, Discovery Kids and Discovery+, offering both linear and digital access to the franchise’s slapstick humour and expressive, dialogue-free storytelling.
“We’re incredibly excited to partner with Warner Bros. Discovery to bring Om Nom Stories to the Indian subcontinent,” said Zeptolab executive producer Manaf Hassan, noting that the broadcaster’s reach and legacy make it a strong fit for the series’ growing global fanbase.
Warner Bros. Discovery, meanwhile, sees the acquisition as a natural addition to its children’s portfolio. Warner Bros. Discovery head of factual entertainment, lifestyle and kids for South Asia Sai Abishek, said the series aligns with the network’s focus on cheerful, imaginative and universally appealing content for families across the region.
The timing adds an extra layer of significance. The expansion coincides with Om Nom’s 15th anniversary, underlining the franchise’s staying power and its evolution from a mobile game character into a global animation brand. With this latest bite at the Indian subcontinent, Om Nom’s adventures look set to find a whole new generation of fans.
Kids
Colour outside the lines Chhota Bheem sketches a new play with Faber Castell
MUMBAI: If childhood memories had a colour palette, Chhota Bheem would likely be right in the middle of it and now, quite literally, in children’s pencil boxes too. Green Gold Animation has announced a landmark licensing partnership with Faber-Castell India, marking the global stationery major’s first-ever licensed character collaboration. The association brings Chhota Bheem to a specially curated range of student art and creative products, blending everyday learning tools with one of India’s most recognisable homegrown characters.
The move is a notable expansion of Chhota Bheem’s footprint beyond screens, reinforcing the character’s status as a multi-generational IP that has steadily grown from a television favourite into a cultural constant. For Green Gold Animation, the partnership signals a sharpened focus on extending its intellectual property into daily touchpoints, where entertainment meets education and habit.
In its first phase, the collaboration will roll out Chhota Bheem-themed products across key student art categories, including watercolour cakes, wax crayons, poster colours, sketch pens, oil pastels and creative bundling kits. The range is aimed squarely at school-going children, tapping into Bheem’s strong emotional connect while encouraging imagination, creativity and hands-on expression.
Green Gold Animation founder and CEO Rajiv Chilaka noted that Chhota Bheem’s journey has long moved beyond episodic storytelling. He said the partnership reflects a deliberate attempt to embed the character into moments of learning and creativity, while building a more purpose-led licensing ecosystem around Indian IP through collaboration with a globally established brand.
From Faber-Castell India’s perspective, the tie-up marks a strategic first. Faber-Castell India director marketing Sonali Shah said the collaboration opens a new chapter by pairing the brand’s long-standing reputation for quality and safety with a character that already commands trust and affection among Indian children. The aim, she added, is to make creativity more engaging and relatable without diluting product standards.
The launch will be backed by a 360-degree promotional push, spanning digital campaigns, social media storytelling, creative usage content and on-ground retail activations across select markets. Both companies have confirmed that this is only the starting point, with additional Chhota Bheem-themed products across new categories planned in the months ahead.
Headquartered in Hyderabad, Green Gold Animation continues to scale its ambition of building globally competitive Indian IPs, with Chhota Bheem leading the charge. This latest collaboration suggests that the brand’s next phase of growth may be less about what children watch and more about what they create.
Kids
Sony tightens grip on Peanuts with $457 million stake buy
JAPAN: Sony has doubled down on the power of legacy brands, snapping up a majority stake in the Peanuts intellectual property in a late-year deal valued at about $457 million.
Sony Pictures Entertainment and Sony Music Entertainment Japan have acquired the roughly 41 per cent holding in Peanuts Holdings LLC previously owned by Canadian children’s entertainment company WildBrain. The move lifts Sony’s ownership to 80 per cent, with the Schulz family retaining the remaining 20 per cent.
The deal brings one of pop culture’s most durable franchises, home to Charlie Brown, Snoopy and the rest of the Peanuts gang, firmly under the Sony umbrella. The characters were created by Charles M Schulz, whose daily comic strip ran for half a century before ending in 2000.
Sony had already been a long-time partner in the business. The latest transaction consolidates control and sharpens the group’s hand as it looks to keep the characters front and centre across film, television, music and consumer products.
President and group ceo of Sony Music Entertainment Japan, Shunsuke Muramatsu, said the additional stake would allow Sony to further elevate the Peanuts brand by drawing on the group’s global reach and creative expertise, while preserving the legacy of Schulz and his family.
President and ceo of Sony Pictures, Ravi Ahuja, said the combined ownership gives Sony the ability to protect and shape the future of the characters for new generations, expanding their relevance without diluting their charm.
Peanuts long ago escaped the confines of the comic strip, cementing its place in popular culture through perennial television specials such as A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown. More recently, WildBrain kept the franchise active with animated series including Snoopy in Space and The Snoopy Show.
Now, with Sony firmly in control, the message is unmistakable. In an industry obsessed with the next big thing, nostalgia still sells and Sony is betting big on a doghouse that refuses to age.
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